Martial Arts, Gangster, and Action Movie in One — “The Raid 2”

If Stanley Kubrick were to have directed a martial arts movie, you might get something like The Raid 2. It’s an Indonesian movie by a Welsh director, sequel to 2011 surprise hit The Raid: Redemption. It’s OK if you haven’t seen the first – it’s like seeing the second Godfather without seeing the first. The two build on each other, but they’re each their own animal.

The first Raid followed an Indonesian SWAT team’s assault on a drug lord’s tenement building. It was brimming with enough gunplay, explosions, and martial arts to put it alongside Raiders of the Lost Ark and Die Hard as one of the best action movies ever filmed.

The second Raid follows the first movie’s hero, Rama (Iko Uwais). It is an incredible action movie, but it’s an even better gangster thriller. Rama is convinced to go undercover, get arrested, and befriend the incarcerated son of a Japanese gangster who owns half of the capital Jakarta. Needless to say, few things go as planned. Rama begins discovering that being an undercover officer doesn’t mean he’s a wrench in the gangster’s works. He’s merely additional leverage in the business relationship between the gangs and Jakarta’s police.

There are a range of decisions that make the fight scenes some of the most effective ever put to screen. Director Gareth Evans builds his film using old-fashioned suspense techniques, and his martial arts scenes – using the Indonesian style Silat – are more than just impressive choreographic sequences. He makes every fight a plot point, communicating through action the kind of relationships and character history other films explain in dialogue.

Evans shoots in long, unbroken takes, not unlike Alfonso Cuaron (Gravity, Children of Men). Where Cuaron’s style reflects a character’s perspective, Evans’s style anticipates a characters intent. It can be hard to communicate how someone thinks in a fight – martial artists train to slow down a situation in their heads, so a response is entirely mental. The physical action that follows is just muscle memory. You learn to plan several moves ahead. It’s incredibly difficult to translate this in a full-speed action movie to a movie theater full of people, but Evans’s approach comes the closest. It offers a unique glimpse into the strategy martial artists employ, which allows you not just to marvel at the athleticism on display, but to understand the chess match that goes on behind a fight.

These longer takes demand incredible feats from choreographers and actors alike. The more complicated the stunts – as in an early prison riot in a mud pit – the longer his shots are likely to be. There are unbroken fight sequences that made my jaw drop at their audacity and ambition.

No matter how easily a character might be described – Hammer Girl (Julie Estelle) is deaf and uses hammers as weapons, for instance – Evans always reveals a visual detail or line of dialogue that gives us a brief window into each henchman’s soul. It transforms characters who would be one-note villains in other films into complex figures. When Rama defeats a henchman, his own moment of heroic triumph also feels like the tragic ending to somebody else’s story.

This is how a martial arts movie laden with fight scenes speaks against violence, and this is one of the most violent movies you’ll ever see. The fight choreography may be impressive, but time and again it communicates mutually assured destruction and the toll such violence takes not just on the body, but the soul as well.

A vignette in the middle of the film, during which we break away from Rama, tells the story of Prakoso (Yayan Ruhian). He is a lifelong assassin who lives on the street and gives all his earnings to his estranged wife and child. His story is a heartbreaking half-hour that could stand as its own short film, culminates in an incredible fight scene, and serves as the keystone to the rest of the plot.

Prakoso’s story is also an opportunity to condense one of The Raid 2‘s underlying themes: the plight of the everyday laborer. This is the 95% of everyone – American, Indonesian, Japanese, whoever they might be – who just try to live their lives well, go to work, and do right by their families. Prakoso is an assassin, but these others are not, and they occur in scene after scene, constantly apologizing to gangsters for not groveling well enough or serving them fast enough. It’s a bitter message from a country rife with organized gangs peddling drugs, sex, and violence. It’s obviously important for the makers of The Raid 2 to communicate to the rest of the world – and to their own citizens – that crime and corruption may be what they endure, but it’s not what defines who they are as a country or a people.

This is an exciting action movie, an accomplished martial arts film, and an epic, intelligent gangster tale with a lot to say. There are treats in here for aficionados of any of those genres, and I haven’t even hit on how beautifully The Raid 2 is filmed, or how lush its design is. Be aware this is an exceptionally hard-R rated movie for its violence and a moment of sexuality.

How China Keeps Bruce Willis Alive – The Changing Face of Global Box Office

Analyzing which movies succeed and flop isn’t as easy as it used to be. Take The Mortal Instruments: City of Bones, one of a dozen garden-variety supernatural young adult movies made after the success of Twilight. The film cost $60 million to make (advertising additional), and it only made $31 million back in the United States. After opening weekend, it was singled out as a cautionary tale for other studios. Revisiting the film after a drawn-out international release reveals, however, that it tripled its take when foreign box office was considered. Add in home release sales and rental, and City of Bones made a tidy profit. A sequel is even in development.

Google “Need for Speed flops” and you’ll see publications ranging from major industry analysts like Forbes to popular online magazines like Uproxx declaring the film a major bomb that threatens DreamWorks’ entire yearly financial outlook. True, Need for Speed did thud into U.S. theaters with a lackluster $17 million opening weekend. This caused an industry-wide race to be the loudest voice turning its flop into a cautionary, knew-it-all-along warning about why movies based off of video games will never be profitable.

Then a funny thing happened. A week later, the film’s topped $130 million worldwide, with weeks left in theaters and many major territories yet to open. A huge hit in China, Need for Speed will make its $66 million production budget back in that country alone.

We typically look at the top movies of a week or a year through American eyes only. The relaunch of RoboCop, for instance, had a $100 million production budget. It’s made only $57 million domestic. Considering the advertising involved, it lost at least $100 million in the U.S. It will be remembered by entertainment journalists as a complete flop. And yet…its worldwide haul sits at $237 million and growing fast.

You might ask yourself why they keep making Die Hard sequels when it’s clear that U.S. audiences have passed the point of diminishing returns on the franchise. Because 80% of the last entry’s $300 million haul came from overseas, that’s why.

In fact, Bruce Willis has achieved only modest success in the U.S. the last five years. He is not a sure domestic draw anymore, but he remains at the top of casting lists because he’s so popular in Australia, China, Japan, Russia, South Korea, and Western Europe. It is virtually impossible to make a Bruce Willis film without making money. He guarantees that, even if a movie under-performs at home, it will make a sizable profit.

Films like Need for Speed and 2013’s Hansel and Gretel: Witchhunters are the mid-budget models for post-holiday releases going forward. American audiences don’t flock to the theater January through March, when Winter is at its worst, but many foreign audiences do. After a disappointing January weekend in which Hansel and Gretel opened a weak slew of movies, it was declared a financial failure. It eventually hit $225 million worldwide. For a film that cost $50 million to produce, that meant a huge financial success and, like City of Bones, a sequel in development.

A week ago, Need for Speed was a complete financial disaster of a film. The concept of its challenging Fast and Furious as a franchise was a joke. Now, it’s one of the hottest international properties, and a sequel has to be on the table.

The United States alone does not dictate box office success anymore. It hasn’t been that way for more than a decade, but it’s become especially apparent in recent years as other countries build more theaters and their own film industries. Studios now engineer films with international release strategies, and add extra footage to movies like Looper to tailor them for foreign audiences. The 2010 remake of The Karate Kid was cleverly re-edited for Chinese theaters so that it wasn’t about a transplanted American boy learning kung fu after being beaten up by Chinese bullies, but rather about a displaced American troublemaker who instigated fights himself and – through kung fu – learned to adjust to his new country.

If the industry has changed, why haven’t the journalists, analysts, and bloggers who cover it? It’s time to stop deciding whether a film is successful from a box office standpoint after the first U.S. weekend. Cautionary tales are great to write and all, but people who tell them every week have a bad habit, not a useful perspective. They’re no longer looking at the full picture.

I’d also like to add…RoboCop, After Earth, Hansel and Gretel: Witchhunters, A Good Day to Die Hard…can we please stop saying American audiences have bad taste? If we do, it’s pretty clear we’re not the only ones.

Box office statistics for this article are drawn from the top two websites on the subject – Box Office Mojo and Box Office Guru.